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Version 1

A Chorus Line (2013-02-Palladium Theatre-London)

Type de série: Revival
Théâtre: Palladium Theatre (Londres - Angleterre)

Durée : 6 mois 1 semaine
Nombre :
Première Preview : Tuesday 05 February 2013
Première : Tuesday 19 February 2013
Dernière : Saturday 31 August 2013
Mise en scène : Bob Avian
Chorégraphie : Michael Bennet • Bob Avian
Producteur :
Avec : John Partridge (Zach), Scarlett Strallen (Cassie), Leigh Zimmerman (Sheila), Victoria Hamilton-Barritt (Diana), Lucy Adcock (Judy), Georgie Ashford (Trisha), Ed Currie (Bobby), Frances Dee (Kristine), Segun Fawole (Butch), Harry Francis (Mark), Simon Hardwick (Al), Rebecca Herszenhon (Val), James T Lane (Richie), Marc Leslie (Roy), Vicki Lee Taylor (Maggie), Daisy Maywood (Bebe), Alice Jane Murray (Lois), Alastair Postlethwaite (Larry), Andy Rees (Greg), Adam Salter (Mike), Alexzandra Sarmiento (Connie), Michael Steedon (Tom), Gary Watson (Don), Gary Wood (Paul), Rebecca Giocopazzi, Genevieve Nicole, Ashley Nottingham
Presse : "The startling simplicity of the show still impresses...The show suggests that theatre is both a metaphor for life and a way of escaping it, and there is something genuinely moving about the way it gives an individual voice to performers who are normally just part of an anonymous ensemble. "
Charles Spencer for The Daily Telegraph

"There is tremendous artistry in A Chorus Line and an admirable seriousness."
Quentin Letts for The Daily Mail

"Lovingly recreated...The splendid (largely British) cast have made a sizzling connection with the show's timeless spirit of dedication to one's art through thick and thin and project it with exhilarating flair and force. "
Paul Taylor for The Independent

"It’s a tight and entertaining celebration of physicality — and of life. "
Henry Hitchings for Evening Standard

"An excellent show. "
Michael Billington for The Guardian

Version 2

Company (1970-04-Neil Simon Theatre-Broadway)

Type de série: Original
Théâtre: Neil Simon Theatre (Broadway - Etats-Unis)
Durée : 1 an 8 mois 1 semaine
Nombre : 7 previews - 705 représentations
Première Preview : Sunday 26 April 1970
Première : Sunday 26 April 1970
Dernière : Saturday 01 January 1972
Mise en scène : Harold Prince
Chorégraphie : Bob Avian
Producteur :
Avec : Robert … Dean Jones
Sarah … Barbara Barrie
Harry … Charles Kimbrough
Susan … Merle Louise
Peter … John Cunningham
Jenny … Teri Ralston
David … George Coe
Amy … Beth Howland
Paul … Steve Elmore
Joanne … Elaine Stritch
Larry … Charles Braswell
Marta … Pamela Myers
Kathy … Donna McKechnie
April … Susan Browning
The Vocal Minority … Cathy Corkill, Carol Gelfand, Marilyn Saunders, Dona D. Vaughn

Version 3

Follies (1987-07-Shaftesbury Theatre-London)

Type de série: Original London
Théâtre: Shaftesbury Theatre (Londres - Angleterre)
Durée : 1 an 6 mois 2 semaines
Nombre : 644 représentations
Première Preview : Inconnu
Première : Tuesday 21 July 1987
Dernière : Saturday 04 February 1989
Mise en scène : Mike Ockrent
Chorégraphie : Bob Avian
Producteur :
Avec : Phyllis Rogers Stone - Diana Rigg [replaced by Millicent Martin] / Sally Durant Plummer - Julia McKenzie / Ben Stone - Daniel Massey / Buddy Plummer - David Healy / Carlotta Campion - Dolores Gray [replaced by Eartha Kitt] / Stella Deems - Lynda Baron [replaced by Meg Johnson] / Billie Whitman - Pearl Carr / Wally Whitman - Teddy Johnson / Solange Lafitte - Maria Charles / Hattie Walker - Margaret Courtenay [replaced by Hope Jackman] / Heidi Schiller - Adele Leigh [replaced by Eileen Page] / Dimitri Weissman - Leonard Sachs [replaced by Harold Kasket] / Stage Manager - Roy Sone / Ronnie Cohen - Ronnie Price / Roscoe - Paul Bentley [replaced by John Fryatt, replaced by David Eynon] / Young Phyllis - Gillian Bevan [replaced by Sally Ann Triplett] / Young Sally - Deborah Poplett [replaced by Jenna Russell] / Young Ben - Simon Green [replaced by Dursley McLinden] / Young Buddy - Evan Pappas [replaced by Anthony Barclay] / Christine Donovan - Josephine Gordon / Deedee West - Dorothy Vernon [replaced by Patricia Lancaster] / Meredith Lane - Jill Martin / Max Blanck - Bruce Graham [replaced by Patrick McCarthy] / Young Heidi - Michelle Todd [replaced by Maureen-Sarah Roche] / Margie - Sally Ann Triplett [replaced by Dawn Spence]
Commentaires : The show had originally been produced on Broadway April 4th 1971 with a cast including Dorothy Collins, Alexis Smith, Gene Nelson and Yvonne de Carlo. It ran for 522 performances with critical success, but was such a large-scale show that it never recovered its production costs and ended up making a loss.
Cameron Mackintosh insisted on a number of revisions for this London premiere, and scenes were re-arranged, numbers cut, and new numbers written. The London show, too, was a critical success (though not a financial one) but ultimately Sondheim preferred the original New York version, and from then onwards it is the Broadway version that is the only one available for performance. Among a number of cast changes at the end of the first year, Millicent Martin took over from Diana Rigg and Eartha Kitt replaced Dolores Gray.

Version 4

Martin Guerre (1996-07-Prince Edward Theatre-London)

Type de série: Original
Théâtre: Prince Edward Theatre (Londres - Angleterre)
Durée : 1 an 7 mois 3 semaines
Nombre : 695 représentations
Première Preview : Friday 21 June 1996
Première : Wednesday 10 July 1996
Dernière : Saturday 28 February 1998
Mise en scène : Declan Donnellan
Chorégraphie : Bob Avian
Producteur :
Avec : Iain Glenn (Arnaud du Thil), Juliette Caton (Bertrande de Rols), Matt Rawle (Martin Guerre), Michael Matus (Benoit), Jerome Pradon (Guillaume), Ann Emery, Sheila Reid, Julia Sutton, Susan Jane Tanner, Martin Turner.
(In the revised version the role of Bertrande was shared with Rebecca Lock)
Commentaires : Based on the 1982 French film “The Return of Martin Guerre”, and a 1993 re-make “Sommersby”, this was a £3.75 million mega-musical which had apparently been seven years in the planning. The original previews were cancelled and delayed for three weeks because of technical difficulties, leading to threatened court-action from disappointed ticket-holders demanding compensation for expenses incurred. It was an impressive, worthy but somewhat dark and humourless show and received a series of very unenthusiastic reviews. Business dropped off, but rather than abandon the show, Cameron Mackintosh spent another half million pounds on a major re-write, including new songs (and the services of yet another lyricist, Stephen Clark) and much revision. Four months after opening, the show closed for three days and was then re-launched as the “New Martin Guerre”. It was shorter and more focussed on the romantic story, with less religious conflict and more emphasis on the character of Bertrande. However, it closed in February 1998, in spite of winning the Olivier Award for Best New Musical, allegedly with total losses of £7 million.

Version 5

Martin Guerre (1996-07-Prince Edward Theatre-London) Version 1

Type de série: Original
Théâtre: Prince Edward Theatre (Londres - Angleterre)
Durée : 3 mois 2 semaines
Nombre :
Première Preview : Friday 21 June 1996
Première : Wednesday 10 July 1996
Dernière : Sunday 27 October 1996
Mise en scène : Declan Donnellan
Chorégraphie : Bob Avian
Producteur :
Avec : Iain Glenn (Arnaud du Thil), Juliette Caton (Bertrande de Rols), Matt Rawle (Martin Guerre), Michael Matus (Benoit), Jerome Pradon (Guillaume), Ann Emery, Sheila Reid, Julia Sutton, Susan Jane Tanner, Martin Turner.
Commentaires : The first version premièred in London at the Prince Edward Theatre on 10 July 1996. Edward Hardy worked on the lyrics and Declan Donnellan directed. It was a spectacular production but not only were the reviews mixed there were also some major concerns expressed by the public and the creative team alike. In the early weeks the creative team worked hard and quickly to clarify the narrative, rearrange some of the material and remove one pretty but non-essential song. But the story did not have the emotional tug on the heartstrings that their previous work had. Stephen Clark took over as co-lyricist and small changes were continually being made.
Presse : Les critiques de la version originale (version 1) étaient majoritairement mauvaises:
"Its book lacks real narrative thrust and excitement" (NICHOLAS DE JONGH, EVENING STANDARD, 7.11.96)

Les Miz and Miss Saigon had a mélodie sweep and emotional clarity signally absent from Martin Guerre" (MICHAEL CO-VENEY, OBSERVER, 7.14.96);

"In Declan Donnellans stylistically-insecure pro¬duction the dramatic métronome has stopped ticking" (ROBERT BUTLER, INDEPENDENT ON SUNDAY, 7.14.96);

"Martin Guerre îs a bore, and a surprïsingly inemeient bore" (ALISTAIR MACAULAY, FINANCIAL TIMES, 7.11,96).

Certaines étaient un peu plus favorables... :
"Martin Guerre is an admirable, high-quality company création ... a beautifully produced addition to London's theatreland" (STEVE GRANT, TIME OUT, 7.17,96)

"For the third time in little more than a décade, or so it would seem from ail but about two of the first dozen reviews, Alain Boubiil and Claude-Michel Schonberg hâve written a great and classic musical which nobody likes except the public. .Martin Guerre is as much a masterpiece of musical magie and mystery as that earlier score (Les Misérables)" (Sheridan Morley, Spectator, 7.20.96).

Version 6

Martin Guerre (1996-07-Prince Edward Theatre-London) Version 2

Type de série: Original
Théâtre: Prince Edward Theatre (Londres - Angleterre)
Durée : 1 an 3 mois 2 semaines
Nombre :
Première Preview : Friday 01 November 1996
Première : Monday 11 November 1996
Dernière : Saturday 28 February 1998
Mise en scène : Declan Donnellan
Chorégraphie : Bob Avian
Producteur :
Avec : Iain Glenn (Arnaud du Thil), Rebecca Lock (Bertrande de Rols), Matt Rawle (Martin Guerre), Michael Matus (Benoit), Jerome Pradon (Guillaume), Ann Emery, Sheila Reid, Julia Sutton, Susan Jane Tanner, Martin Turner.
Commentaires : The first version premièred in London at the Prince Edward Theatre on 10 July 1996. Edward Hardy worked on the lyrics and Declan Donnellan directed. It was a spectacular production but not only were the reviews mixed there were also some major concerns expressed by the public and the creative team alike. In the early weeks the creative team worked hard and quickly to clarify the narrative, rearrange some of the material and remove one pretty but non-essential song. But the story did not have the emotional tug on the heartstrings that their previous work had. Stephen Clark took over as co-lyricist and small changes were continually being made.
Presse : Quand Martin Guerre a réouvert au Prince Edward, la presse a été nettement meilleure:
"The narrative is clear and full of suspense, there are some sharper lyrics (by Stephen Clark), and the emotional volume has been dramatkally turned up" Georgina Brown, Mail on Sunâay, 11.17,96

"The relaunched version at the Prince Edward at least has a narrative drive and cohérence missing from the original" Michael Billington, Guardian, 11.13,96

"The pièce has now been rejigged and, in my view, significantly improved" Benedict Nightingale, The Times, 11.13,96

"The show has been restructured to make it both clearer and more plau­sible,..it now has scènes of real power and passion, while its achingiy romantic mélodies linger resonantly in the mernory" Charles Spencer, Daiîy Telegraph, 11.12.96

Version 7

Miss Saigon (1989-09-Drury Lane-London)

Type de série: Original
Théâtre: Drury Lane Theatre (Londres - Angleterre)

Durée : 10 ans 1 mois 1 semaine
Nombre : 4264 représentations
Première Preview : Inconnu
Première : Wednesday 20 September 1989
Dernière : Saturday 30 October 1999
Mise en scène : Nicholas Hytner
Chorégraphie : Bob Avian
Producteur :
Avec : Kim … Lea Salonga
Mimi … Monique Wilson
Gigi … Isay Alvarez
Yvonne … Dominique Nobles
Yvette … Jenine Desiderio
Bar Girl … Pinky Amador, Ruthie Henshall, Suchitra Sen Sawrattan, Shukubi Yo, Antoinette Lo, Claudia Cadette
The Engineer … Jonathan Pryce
John … Peter Polycarpou
Chris … Simon Bowman
Marine … Johnny Amobi, Gerard Casey, Mark Carroll, Richard Calkin, Greg Ellis, Andrew Golder, Nick Holder, Jimmy Johnston, Glyn Kerslake, Ray Shell, Michael Strassen, Louie Spence
Reporter … Tash O'Connor, Mark Bond
Barman … Robert Sena, Jon Jon Briones
Officer of the South Vietnamese Army … Chooi Kheng Beh, Junix Inocian
Vietnamese Customer … Miguel Diaz, Jay Ibot, Victor Laurel, Bobby Martino, William Michaels, Lyon Roque
Mama San … Andy Lanai
Thuy … Keith Burns
Ellen … Claire Moore
Tam … David Platt, Wasseem Hamdan, Allen Evangelista
Pham … Junix Inocian
Huynh … Miguele Diaz
Assistant Commissar … Victor Laurel
Dragon Acrobat … Jimmy Johnston
NVA Soldier … Bobby Martino, Jay Ibot, Andy Lanai, Jon Jon Briones, Chooi Kheng Beh, Robert Sena, Lyon Roque
Hustler … Junix Inocian, Victor Laurel, Lyon Roque, Miguel Diaz
Owner of the Moulin Rouge … Nick Holder
Go-Go Dancer … Pinky Amador, Suchitra Sen Sawrattan, Monique Wilson, Jenine Desiderio
Shultz … Mark Bond
Harrison … Greg Ellis
Travis … Ray Shell
Weber … Michael Strassen
Estevez … Andrew Golder
Allott … Tash O'Connor
Commentaires : The lavish production was notable for the helicopter scene - where a full-size helicopter landed onstage - as well as other spectacular scenic effects.

Version 8

Miss Saigon (1991-04-Broadway Theatre-Broadway)

Type de série: Original Broadway
Théâtre: Broadway Theatre (Broadway - Etats-Unis)
Durée : 9 ans 9 mois 3 semaines
Nombre : 19 previews - 4092 représentations
Première Preview : Saturday 23 March 1991
Première : Thursday 11 April 1991
Dernière : Sunday 28 January 2001
Mise en scène : Nicholas Hytner
Chorégraphie : Bob Avian
Producteur :
Avec : The Engineer … Jonathan Pryce
Kim … Lea Salonga
Chris … Willy Falk
John … Hinton Battle
Thuy … Barry K. Bernal
Ellen … Liz Callaway
Tam … Philip Lyle Kong
Commentaires : For the American production Cameron Mackintosh insisted on Jonathan Pryce and Lea Salonga for the leads. American Equity, under pressure from their Asian-American members, refused to allow a non-Asian (Jonathan Pryce) to play an Asian role and insisted he be re-cast.
Cameron Mackintosh refused and announced the cancellation of the entire production - notwithstanding its potential loss of many millions of dollars. Pressure from the thousands of advance ticket-holders and from the acting profession forced Equity to change its mind and allow Jonathan Pryce to play the role. The show ran almost ten years on Broadway and since then has been performed in 25 countries and 246 cities, and it has been translated into twelve different languages.

Version 9

Miss Saigon (1992-10-US Tour 1)

Type de série: US Tour
Théâtre: US Tour ( - Etats-Unis)
Durée :
Nombre :
Première Preview : Inconnu
Première : Inconnu
Dernière : Inconnu
Mise en scène : Nicholas Hytner
Chorégraphie : Bob Avian
Producteur :
Commentaires longs: The first US tour started in Chicago, Illinois in October 1992 and was then expected to travel to those cities which could accommodate the large production. The tour also played venues such as the Wang Center in Boston in July 14 to September 12, 1993,[8]the Broward Center for the Performing Arts, Florida in the Spring 1994,[9] and the Kennedy Center, Washington, DC in June 1994.[

Version 10

Miss Saigon (1994-12-Apollo Theater-Stuttgart)

Type de série: Revival
Théâtre: Apollo Theater (Stuttgart - Allemagne)
Durée : 5 ans 2 semaines
Nombre :
Première Preview : Friday 02 December 1994
Première : Friday 02 December 1994
Dernière : Sunday 19 December 1999
Mise en scène : Nicholas Hytner
Chorégraphie : Bob Avian
Producteur :

Version 11

Miss Saigon (1996-11-Fortis Circustheater-Scheveningen)

Type de série: Revival
Théâtre: Afas Circustheater (Scheveningen - Pays-Bas)
Durée : 2 ans 7 mois 1 semaine
Nombre :
Première Preview : Sunday 24 November 1996
Première : Sunday 24 November 1996
Dernière : Sunday 04 July 1999
Mise en scène : Nicholas Hytner
Chorégraphie : Bob Avian
Producteur :
Avec : Kim: Linda Wagenmakers, Casey Francisco, Cystine Carreon / Christopher Scott (Chris): Tony Neef, Paul Vaes, Ger Otte / De Regelaar: Willem Nijholt, Frans van Deursen, Bill van Dijk, Wim van den Driessche, Henk Dikmoet / John: Stanley Burleson, Marc Dollevoet, Matthew Dickens, Paul Donkers, René van Kooten, Jerrel Houtsnee / Ellen: Ellen Evers, Lottie Hellingman, Claudia de Graaf, Céline Purcell / Thuy: Charles Azulay, Arvin Quirante / Gigi: Imelda de los Reyes, Nurlaila Karim, Cystine Carreon, Chaira Borderslee

Version 12

Miss Saigon (2001-11-UK Tour 1)

Type de série: UK Tour
Théâtre: UK Tour ( - Angleterre)
Durée : 2 ans 1 mois 2 semaines
Nombre :
Première Preview : Wednesday 31 October 2001
Première : Tuesday 13 November 2001
Dernière : Wednesday 31 December 2003
Mise en scène : Nicholas Hytner
Chorégraphie : Bob Avian
Producteur :
Commentaires longs: The tour opened at the Palace Theatre, Manchester and also played in the Birmingham Hippodrome, the Mayflower Theatre Southampton, the Edinburgh Playhouse, the Bristol Hippodrome and the The Point Theatre in Dublin.

Version 13

Miss Saigon (2014-05-Prince Edward-London)

Type de série: Revival
Théâtre: Prince Edward Theatre (Londres - Angleterre)
Durée : 1 an 9 mois 1 semaine
Nombre :
Première Preview : Saturday 03 May 2014
Première : Wednesday 21 May 2014
Dernière : Saturday 27 February 2016
Mise en scène : Laurence Connor
Chorégraphie : Bob Avian • Geoffrey Garratt
Producteur :
Avec : Eva Noblezada (Kim), Jon Jon Briones (Engineer), Alistair Brammer (Chris), Hugh Maynard (John),Tamsin Carroll (Ellen), Rachelle Ann Go (GiGi), Julia Abueva, Natalie Chua, Jon-Scott Clark, Rob Compton , Callum Francis, Ashley Gilmour, Maria Graciano, Simon Hardwick, Jack Harrison-Cooper, Matthew Jeans, Kurt Kansley, Kittiphun Kittipakapom, David Lee, Mitch Leow, Ela Lisondra, Tanya Manalang, Christian Rey Marbella, Kanako Nakano, Thao Therese Nguyen, Saori Oda, Ariel Reonal, Jon Reynolds, Romeo Salazar, Jordan Shaw, Marsha Songcome, Eloisa Amalia Tan, Christian Tanamal, Thao Vilayvong, Amadeus Williams, Gerald Zarcilla.
Presse : "Laurence Connor’s production has a cinematic fluency and he keeps the dramatic tension simmering throughout. For all its many merits, however, I find it easier to admire Miss Saigon than to love it." Charles Spencer for Daily Telegraph

"I can't say I was deeply moved, unlike the lady in front of me forever dabbing her eyes, but I came away feeling this is a successful variation on an old tale and put across with exemplary vigour." Michael Billington for The Guardian

"The revelation is Eva Noblezada in her professional debut as Kim. Combining innocence with an incredible vocal range she is the human heart of an impressive production that is fundamentally opera for people who don’t like opera. A stone cold hit." Neil Norman for The Express

"Sir Cameron Mackintosh’s revival of the 1980s musical Miss Saigon is staged with such insistent extravagance that it bludgeons its way to success. Great art? Nope. But big theatre." Quentin Letts for The Daily Mail

"The result is a show of high-stakes intensity, which vividly dramatises private passions against a striking historical background. And its most notable feature is 18-year-old Noblezada (Kim), who seems a remarkable find." Henry Hitchings for The Evening Standard

Version 14

Sunset Boulevard (1993-07-Adelphi Theatre-London)

Type de série: Original
Théâtre: Adelphi Theatre (Londres - Angleterre)

Durée : 3 ans 8 mois 4 semaines
Nombre : 1529 représentations
Première Preview : Inconnu
Première : Monday 12 July 1993
Dernière : Saturday 05 April 1997
Mise en scène : Trevor Nunn
Chorégraphie : Bob Avian
Producteur :
Avec : Version 1:
Patti LuPone
12 juil 1993 - 12 mars 1994

Version 2:
Betty Buckley
19 avr 1994 - 14 mai 1995
(out du 29 nov 1994 - 7 jan 1995 remplacée par Elaine Page)

Elaine Paige
17 mai 1995 - 6 jan 1996
(out du 2 sept - 14 oct 1995, remplacée par Petula Clark)

Petula Clarck
9 jan 1996 - 5 avr 1997
(out du 9 sept - 2 nov 1996, remplacée par Rita Moreno)
Commentaires : A londres, Norma Desmond sera jouée successivement par Patti LuPone, Betty Buckley, Elaine Paige, Petula Clark et Rita Moreno.
Les critiques ayant été mitigée à l'ouverture, le show va fermer trois semaines et rouvrir le 19 avril 1994 avec de nombreuses modifications rapprochant cette version de celle de Los Angeles (Glenn Close) qui avait elle été très bien accueillie.

Early in 1997, Andrew Lloyd Webber announced the immediate closure of both the West End and Broadway productions, claiming it was impossible to find cast replacements of sufficiently high quality. (Later it was disclosed the whole undertaking had lost an absolute fortune and was seriously impacting on the overall finances of Lloyd Webber’s Really Useful Company. The sum of money paid to Faye Dunaway for breach of contract when she was sacked from the USA version was never disclosed, but it was claimed that Patti LuPone, initially promised the Broadway run, sued Lloyd Webber and received a settlement reported to be $1 million.
According to Broadway critic Frank Rich in his book “The Hot Seat”, these lawsuits contributed to “Sunset Boulevard” setting the record for the biggest loss ever made on a musical show. The operating costs exceeded the income, and the touring companies also generated large financial losses. In spite of running for more than two years and selling over a million tickets on Broadway, Rich puts the final losses near or above $20 million.

Version 15

Sunset Boulevard (1993-07-Adelphi Theatre-London) VERSION 1

Type de série: Original
Théâtre: Adelphi Theatre (Londres - Angleterre)

Durée : 8 mois
Nombre :
Première Preview : Monday 12 July 1993
Première : Monday 12 July 1993
Dernière : Saturday 12 March 1994
Mise en scène : Trevor Nunn
Chorégraphie : Bob Avian
Producteur :
Avec : Patti LuPone (Norma Desmond), Kevin Anderson (Joe Gillis), Meredith Braun (Betty Schaefer), Daniel Benzali (Norma's ex-husband, Max)
Commentaires : Billy Wilder and his wife Audrey were joined by Nancy Olson, who had played Betty Schaefer in the original film, at the opening night performance. Of it, Wilder observed, "The best thing they did was leave the script alone," and of Patti LuPone he exclaimed, "She's a star from the moment she walks on stage."
Reviews were mixed…
The show closed for three weeks, re-opening on 19 April 1994, revamped to follow the Los Angeles production, with a second official "opening".
Presse : the review by Michael Kuchwara for the AP: "Some reviewers felt Lloyd Webber took the sting out of a cynical tale. 'Wilder's bitter brew has been diluted,' wrote AP Drama Critic Michael Kuchwara. He added: 'When LuPone is off stage, the show sags.'"
Frank Rich wrote "Much of the film's plot, dialogue and horror-movie mood are preserved, not to mention clips used to illustrate those sequences in which the faded silent-film star, Norma Desmond ...and her kept young screenwriter, Joe Gillis ..., travel by car. The lyricist, Don Black ..., and the playwright, Christopher Hampton ..., smartly tailor their jokes to the original screenplay's style. At times even Lloyd Webber gets into the Wilder swing. Both acts open with joltingly angry diatribes about Hollywood, part exposition-packed recitative and part song, in which the surprisingly dark, jazz-accented music, the most interesting I've yet encountered from this composer, meshes perfectly with the cynical lyrics. Anderson makes the sardonic Wilder voice an almost physical presence in Sunset Boulevard. But that voice is too often drowned out by both LuPone's Broadway belt and by the mechanical efforts of Lloyd Webber and his director, Trevor Nunn, to stamp the proven formulas of Phantom and Les Miz on even an intimate tale. At odd moments the mammoth set advances like a glacier toward the audience or retreats or, most dramatically, rises partly up into the flies, actors in tow."

Version 16

Sunset Boulevard (1993-12-Shubert Theatre-Los Angeles)

Type de série: Revival
Théâtre: Shubert Theatre (Los Angeles - Etats-Unis)
Durée : 7 mois 2 semaines
Nombre : 232 représentations
Première Preview : Inconnu
Première : Thursday 09 December 1993
Dernière : Tuesday 26 July 1994
Mise en scène : Trevor Nunn
Chorégraphie : Bob Avian
Producteur :
Commentaires : Initially, Faye Dunaway and Rex Smith were to replace Close and Campbell. However, Dunaway was hired with no prior musical stage (or film) experience, and a week before her previews were to begin, Lloyd Webber fired her and decided to close the show.

Version 17

Sunset Boulevard (1994-04-Adelphi Theatre-London) VERSION 2

Type de série: Original
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée : 2 ans 11 mois 3 semaines
Nombre :
Première Preview : Tuesday 19 April 1994
Première : Tuesday 19 April 1994
Dernière : Saturday 05 April 1997
Mise en scène : Trevor Nunn
Chorégraphie : Bob Avian
Producteur :
Avec : Betty Buckley
19 avr 1994 - 14 mai 1995
(out du 29 nov 1994 - 7 jan 1995 remplacée par Elaine Page)

Elaine Paige
17 mai 1995 - 6 jan 1996
(out du 2 sept - 14 oct 1995, remplacée par Petula Clark)

Petula Clarck
9 jan 1996 - 5 avr 1997
(out du 9 sept - 2 nov 1996, remplacée par Rita Moreno)
Commentaires : Buckley then followed Glenn Close as Norma Desmond in the second year of the Broadway production. Elaine Paige, who had filled in when Buckley was ill in 1994, took over as Norma Desmond in the West End in May 1995 before joining the Broadway production for the end of its run between 1996 and 1997. Petula Clark filled in for Paige during her holiday in September/October 1995, before taking over the role in January 1996 when Paige departed for the United States. The last "star" to take on the role of Norma Desmond in London was Rita Moreno, who filled in for a vacationing Clark in September and October 1996. John Barrowman played Joe until 1995, when he was replaced by Alexander Hanson. Graham Bickley played the role for the final year of the London run.
The show closed on 5 April 1997, running for 1,530 performances.
Presse : The show closed for three weeks, re-opening on 19 April 1994, revamped to follow the Los Angeles production, with a second official "opening". The revamped musical had a new song, "Every Movie's A Circus", a new set, and new stars, Betty Buckley and John Barrowman. Michael Bauer, who had played DeMille in the original production replaced Benzali as Max, a role he played until the end of the London run (and subsequently on the UK tour and the BBC concert) and Anita Louise Combe (also from the original cast, understudying the role of Betty Shaeffer for the first nine months – and subsequently went on to play Betty Schaeffer in the Canadian Premiere with Diahann Carroll). Buckley and the production garnered rave reviews. David Lister of The Independent, for example wrote: "The show looked an improvement on the one that got decidedly mixed reviews last summer."

Version 18

Sunset Boulevard (1994-11-Minskoff Theatre-Broadway)

Type de série: Original Broadway
Théâtre: Minskoff Theatre (Broadway - Etats-Unis)
Durée : 2 ans 4 mois
Nombre : 17 previews - 977 représentations
Première Preview : Tuesday 01 November 1994
Première : Thursday 17 November 1994
Dernière : Saturday 22 March 1997
Mise en scène : Trevor Nunn
Chorégraphie : Bob Avian
Producteur :

Version 19

Sunset Boulevard (1996-06-Us Tour 1)

Type de série: US Tour
Théâtre: US Tour ( - Etats-Unis)
Durée :
Nombre :
Première Preview : Inconnu
Première : Saturday 01 June 1996
Dernière : Inconnu
Mise en scène : Trevor Nunn
Chorégraphie : Bob Avian
Producteur :

Version 20

Witches of Eastwick (The) (2000-06-Drury Lane Theatre-London)

Type de série: Original
Théâtre: Drury Lane Theatre (Londres - Angleterre)
Durée : 7 mois 1 semaine
Nombre : 255 représentations
Première Preview : Saturday 24 June 2000
Première : Tuesday 18 July 2000
Dernière : Saturday 24 February 2001
Mise en scène : Eric Schaeffer
Chorégraphie : Bob Avian • Stephen Mear
Producteur :
Avec : Ian McShane (Daryll Van Horne), Lucie Arnaz (Alexandra Spofford), Joanna Riding (Jane Smart), Maria Friedman (Sukie Rougemont), Rosemary Ashe (Felicia Gabriel), Stephen Tate (Clyde Gabriel), Caroline Sheen (Jennifer Gabriel), Peter Jöback (Michael Spofford), Gee Williams (Fidel), Sarah Lark (Little Girl), Jasna Ivir (Gina Marino), Tim Walton (Joe Marino), Anne Marie McCormack (Gretta Neff), Kevin Wainwright (Raymond Neff), Lisa Peace (Marge Persley), Shaun Henson (Homer Persley), Earl Carpenter (Reverend Ed Parsley), Kathryn Akin (Brenda Parsley), Jocelyn Hawkyard (Rebecca Barnes), Nick Searle (Toby Bergman), Valda Aviks (Eudora Bryce), Matt Dempsey (Curtis Hallerbread), Scarlett Strallen (Mavis Jessup), Julia Sutton (Franny Lovecraft), Chris Holland (Frank Ogden), Alison Forbes (Mabel Ogden), Maurice Lane (Dr Henry Pattison), Jean McGlynn (Marcy Wills)
Commentaires : Based on John Updike’s novel and the film version starring Jack Nicholson, the musical version initially earned mostly positive reviews, but failed to fill the vast Drury Lane auditorium. After seven months it was replaced with a scaled-down version and moved to the more intimate Prince of Wales Theatre. A number of scenes were re-written and the song “Who's the Man?1” was replaced with a rousing gospel number, “The Glory of Me”. At the same time Ian McShane left and was replaced by his understudy, Earl Carpenter. At the end of its first year a general cast change saw Clarke Peters take over as Darryl van Home and Josefina Gabrielle and Rebecca Thornhill replaced Lucie Arnaz and Maria Friedman. On Oct 27th, 2001 the show closed after a 15 month run. There had been a disastrous drop in ticket sales, attributed to a downturn in tourism following the September 11th Twin-Towers attack in New York.
Presse : SHERIDAN MORLEY for TELETEXT says, "This is in every possible sense a magical show; written, composed, choreographed, designed, directed and played to within inches of perfection." He goes on to say, " The Witches of Eastwick is the musical that starts the 21st century, and it will be a hard act to follow."

EDWARD SECKERSON for THE INDEPENDENT, says "The enjoyment factor is high, the production values sky-high." He goes on to say it is a "likeable and beautifully mounted show".

MATT WOLF for REUTERS/VARIETY, also generally liked the show, saying, "As long as its leading ladies join forces vocally, not to mention aerially, the show flies.. As it happens, that's often enough to keep director Eric Schaeffer's production mostly airborne, despite some dead patches in the second act and a game if underpowered leading man..... When he's not attempting to sing or dance, McShane cuts an attractive roue who matches up perfectly to the ``bearish, dark man'' described in Updike's novel."

BENEDICT NIGHTINGALE for THE TIMES, says, "Dana P. Rowe's music remains refreshingly tuneful, whether it opts for the energetic and brash or for the soft and slightly soppy. John Dempsey's rhymes are never feeble or silly, though seldom very clever. But I caught myself wishing for a dash of Sondheim or Weill, a pinch more toughness and acerbity, along with the fingernails and frogs in the witches' brew."

NICHOLAS DE JONGH for THE EVENING STANDARD gave the show a mixed review saying, "Of the 20 songs, some inspiring frenetic choreography by Bob Avian and Stephen Mear, just one, the witty Dirty Laundry, boasts the impact of a hit. And Maria Friedman also plays powerful, poignant vocal gymnastics in Words, Words Words. But though Rowe's score achieves snatches of symphonic excitement and drama, this is a musical where the scenes between songs and music provide most of the fun and amusement."

ROBERT HEWISON for THE SUNDAY TIMES says,"There are many things to be enjoyed in The Witches of Eastwick."

MICHAEL BILLINGTON for THE GUARDIAN says, "Devil of a good sex fantasy set to music." He goes on to say "Ian McShane as the devil may not have all the best tunes but, after a long absence from the stage, he overflows with energy and a leering, saloon bar smuttiness." Billington goes on to say that "Maria Friedman is outstanding...Joanna Riding is also sharply funny."

SUSANNAH CLAPP for the OBSERVER says, "It's a bubbling cauldron, but it's not spellbinding. The Witches of Eastwick, the catchy and colourful new musical production from Sir Cameron Mackintosh, has lots to recommend it. What it lacks is an original pulse, and a dynamic leading man."

CHARLES SPENCER for THE DAILY TELEGRAPH says, "WHAT a relief. After a string of duds this year, the West End finally has a new musical worth making a song and dance about."

Version 21

Witches of Eastwick (The) (2001-03-Prince of Wales Theatre-London)

Type de série: Revival
Théâtre: Prince of Wales Theatre (Londres - Angleterre)
Durée : 7 mois 1 semaine
Nombre : 251 représentations
Première Preview : Friday 23 March 2001
Première : Friday 23 March 2001
Dernière : Saturday 27 October 2001
Mise en scène : Eric Schaeffer
Chorégraphie : Bob Avian • Stephen Mear
Producteur :
Avec : Ian McShane (Daryll Van Horne), Lucie Arnaz (Alexandra Spofford), Joanna Riding (Jane Smart), Maria Friedman (Sukie Rougemont), Rosemary Ashe (Felicia Gabriel), Stephen Tate (Clyde Gabriel), Caroline Sheen (Jennifer Gabriel), Peter Jöback (Michael Spofford), Gee Williams (Fidel), Sarah Lark (Little Girl), Jasna Ivir (Gina Marino), Tim Walton (Joe Marino), Anne Marie McCormack (Gretta Neff), Kevin Wainwright (Raymond Neff), Lisa Peace (Marge Persley), Shaun Henson (Homer Persley), Earl Carpenter (Reverend Ed Parsley), Kathryn Akin (Brenda Parsley), Jocelyn Hawkyard (Rebecca Barnes), Nick Searle (Toby Bergman), Valda Aviks (Eudora Bryce), Matt Dempsey (Curtis Hallerbread), Scarlett Strallen (Mavis Jessup), Julia Sutton (Franny Lovecraft), Chris Holland (Frank Ogden), Alison Forbes (Mabel Ogden), Maurice Lane (Dr Henry Pattison), Jean McGlynn (Marcy Wills)
Earl Carpenter replaced Ian McShane as Daryll Van Horne on March 23, 2001 / Clarke Peters replaced Earl Carpenter as Daryll Van Horne on July 1, 2001 / Josefina Gabriel replaced Lucy Arnaz as Alexandra Spofford on July 1, 2001 / Rebecca Thornhill replaced Maria Friedman as Sukie Rougemont on July 1, 2001 / Paul Spicer replaced Peter Jobak as Michael Spofford on July 1, 2001 / Elizabeth Yeats replaced Jasna Ivir as Gina Marino on July 1, 2001 / Christopher Howell replaced Kevin Wainwright as Raymond Neff on July 1, 2001 / Amanda Villamayor replaced Kathryn Akin as Brenda Parsley on July 1, 2001
Commentaires : Based on John Updike’s novel and the film version starring Jack Nicholson, the musical version initially earned mostly positive reviews, but failed to fill the vast Drury Lane auditorium. After seven months it was replaced with a scaled-down version and moved to the more intimate Prince of Wales Theatre. A number of scenes were re-written and the song “Who's the Man?1” was replaced with a rousing gospel number, “The Glory of Me”. At the same time Ian McShane left and was replaced by his understudy, Earl Carpenter. At the end of its first year a general cast change saw Clarke Peters take over as Darryl van Home and Josefina Gabrielle and Rebecca Thornhill replaced Lucie Arnaz and Maria Friedman. On Oct 27th, 2001 the show closed after a 15 month run. There had been a disastrous drop in ticket sales, attributed to a downturn in tourism following the September 11th Twin-Towers attack in New York.
Presse : Most of the popular press like the new version better than the original... BENEDICT NIGHTINGALE for THE TIMES says, “The show has been somewhat rejigged…… I thought the music was still bright and brisk, if not acerbic or inventive enough, the lyrics remained above-average, and the repartee funnier than I recalled.”

CHARLES SPENCER for THE DAILY TELEGRAPH says, “Now it has transferred to the smaller Prince of Wales, McShane has been replaced by the great Clarke Peters, and The Witches of Eastwick looks like a brimmingly confident smash hit.” THE DAILY MAIL says, “Did I enjoy it more this time round? Well, yes, actually. Not a lot, but a bit. “

THE EVENING STANDARD says, "This comic operetta has been given a shot in the erogenous zones through its casting of Clarke Peters as the devilish seducer....Eric Schaeffer’s production bustles with ardent singing, dancing brio and broad humour."

SHERIDAN MORLEY for TELETEXT says, "It still looks, a year on, like work in progress and that is what gives it such fascination: in here somewhere are about five quite different musicals."

ROBERT HEWISON for THE SUNDAY TIMES says, "Josefina Gabrielle, Joanna Riding and Rebecca Thornhill are warm and sexy." He goes on to say, Clarke Peters is "entertaining", but "what had been a musical comedy has become a comedy musical".

RHODA KOENIG for THE INDEPENDENT was not too impressed saying, “After his promising entrance, Peters turns out to be about as sexy and subversive as Burt Reynolds trying to embarrass a female guest on a chat show.”

Version 22

Witches of Eastwick (The) (2007-06-Signature Theatre-Arlington)

Type de série: Revival
Théâtre: Signature Theatre (Arlington - Etats-Unis)
Durée : 1 mois 1 semaine
Nombre :
Première Preview : Tuesday 05 June 2007
Première : Tuesday 05 June 2007
Dernière : Sunday 15 July 2007
Mise en scène : Eric Schaeffer
Chorégraphie : Bob Avian • Stephen Mear
Producteur :
Commentaires longs: The authors made numerous changes to the show. Numbers were abbreviated (Eastwick Knows), cut (I Love A Little Town) and added (Your Wildest Dreams). Scenes and songs were re-arranged, and the production received positive notices.
Presse : The Washington Post reviewer wrote that "The musical adaptation has way more kick than the wispy 1987 film…. It's on the technical level that [Eric Schaeffer]'s production still has kinks to work out, for until the actresses are airborne… the mechanics look and feel clunky." BroadwayWorld.com stated that "director Eric Schaeffer certainly pulls The Witches of Eastwick all together… does it ever succeed." CultureVulture.net commented that the show is "full of body-shaking thunder, raunchy behavior, and surprises. Gut reaction based on the performance seen June 17 says this show will make it to Broadway and be reasonably successful there." Talkin' Broadway wrote that the "Broadway actors… give memorable and funny performances in the four lead roles…. Choreographer Karma Camp gets a chance to show off in this production."